Shortly after her first runway show, Northwest Arkansas fashion designer Alyssa Graves joked that maybe someday she'd make it to New York Fashion Week.

Just six months later, she was showing her designs on one of the biggest stages in fashion.

"It was just one of those things I joked about, but it was a wonderful experience that hasn't hit me yet," Graves said. "It happened so fast. But I got to walk out at the end of the show and say thank you to the crowd, and it was a very humbling experiencing."

In only her second show, the 25-year-old Bentonville native presented six pieces in a combined show with emerging designers from around the world. Her line of formalwear geared toward spring and summer 2019 included a trumpet-style white-and-silver gown, a gold sequined dress with off-the-shoulder sleeves and a rose gold jumpsuit, the Arkansas Democrat-Gazette reported.

"I love making special, different types of things because it's something you don't typically wear," said Graves, whose design company, A. Brook's Designs and Apparel, specializes in bridal and evening wear. "It's the way it makes you feel. It gives you confidence and makes you feel beautiful. I love seeing faces just light up. It makes my heart happy."

The opportunity to present at New York Fashion Week arose after Graves completed her first show at Northwest Arkansas Fashion Week in late March. After the show, she received an email from a publicist at Above Time Designs — a marketing and public relations firm specializing in social media, campaign launches and event planning — asking her to participate in a show dedicated to showcasing the talent of emerging designers.

"If I hadn't been included in that (Arkansas) show, none of this would have been possible," said Graves, who received a grant from the Arkansas Arts and Fashion Forum to help with travel expenses. "It's nice to know that my home state and the people there are supporting local designers to go out and succeed in other locations."

Graves, who graduated from the University of Arkansas with a degree in apparel merchandising and product development, spent the next six months completing her looks on nights and weekends when she wasn't working her day job as a dance instructor.

The designs Graves showed at New York Fashion Week were also displayed at this fall's Northwest Arkansas Fashion Week, which took place Sept. 20-22.

"Timing is everything, and (New York Fashion Week) fell at a really great time in my career," she said. "I'm on the front end, so hopefully this leads to more exposure and me being able to make more custom designs for other people."

Shortly after her first runway show, Northwest Arkansas fashion designer Alyssa Graves joked that maybe someday she'd make it to New York Fashion Week.

Just six months later, she was showing her designs on one of the biggest stages in fashion.

"It was just one of those things I joked about, but it was a wonderful experience that hasn't hit me yet," Graves said. "It happened so fast. But I got to walk out at the end of the show and say thank you to the crowd, and it was a very humbling experiencing."

In only her second show, the 25-year-old Bentonville native presented six pieces in a combined show with emerging designers from around the world. Her line of formalwear geared toward spring and summer 2019 included a trumpet-style white-and-silver gown, a gold sequined dress with off-the-shoulder sleeves and a rose gold jumpsuit, the Arkansas Democrat-Gazette reported.

"I love making special, different types of things because it's something you don't typically wear," said Graves, whose design company, A. Brook's Designs and Apparel, specializes in bridal and evening wear. "It's the way it makes you feel. It gives you confidence and makes you feel beautiful. I love seeing faces just light up. It makes my heart happy."

The opportunity to present at New York Fashion Week arose after Graves completed her first show at Northwest Arkansas Fashion Week in late March. After the show, she received an email from a publicist at Above Time Designs — a marketing and public relations firm specializing in social media, campaign launches and event planning — asking her to participate in a show dedicated to showcasing the talent of emerging designers.

"If I hadn't been included in that (Arkansas) show, none of this would have been possible," said Graves, who received a grant from the Arkansas Arts and Fashion Forum to help with travel expenses. "It's nice to know that my home state and the people there are supporting local designers to go out and succeed in other locations."

Graves, who graduated from the University of Arkansas with a degree in apparel merchandising and product development, spent the next six months completing her looks on nights and weekends when she wasn't working her day job as a dance instructor.

The designs Graves showed at New York Fashion Week were also displayed at this fall's Northwest Arkansas Fashion Week, which took place Sept. 20-22.

"Timing is everything, and (New York Fashion Week) fell at a really great time in my career," she said. "I'm on the front end, so hopefully this leads to more exposure and me being able to make more custom designs for other people."

Designers at Givenchy, Haider Ackermann, Comme des Garcons and more are breaking free from the binary.

“Like all wise people, he does nothing with gender. He just dresses people so there is no need to even discuss it,” said Tilda Swinton backstage Saturday afternoon, after her go-to designer Haider Ackermann presented his spectacular spring 2019 collection, putting men and women together on the runway for the first time.

This iteration of fashion month, which wraps up in Paris on Tuesday, has seen many designers breaking away from the binary, inspired by the cultural discussion of gender identity to show men’s and women’s clothing on the runway together, cast trans models, and launch entire unisex collections.

For some, it has been perfectly authentic (since starting his label in 2001, Ackermann has been an originator of the feminized menswear trend) and for some, it has seemed more like a marketing decision.

At Hermes, the show notes at the haute saddle and handbag maker turned ready-to-wear brand, posed this question: “What if Corto Maltese had been a woman, Lord Jim a Lady, Penelope and man and Odysseus his wife?” Apparently, an apron would be a dress, and a sailor’s smock would be a parka, or something like that.

At Givenchy, Meghan Markle’s wedding gown designer Clare Waight Keller took cues from 1930s gender-bending writer and adventurer Annemarie Schwarzenbach to mix crystal fringe and cargo pants, sharp pleats with fluid dresses, and sculpted shoulders with flower prints. “It seemed to make sense for right now,” she said. Whether it made sense for what was on its way to becoming a modern-day princess brand is another question.

Ackermann, on the other hand, whose star has been on the rise in Hollywood thanks to both Swinton and Timothee Chalamet wearing his clothing for recent high-profile red-carpet appearances, incorporated the theme seamlessly into his staging and collection. He showed his signature exotic tailoring to dramatic effect, with models coming onto the runway in a cloud of smoke that blurred their gender identities into a romantic haze of ‘what does it matter?’

The pieces in the collection could easily have been shared and worn by anyone, the connecting thread being color and fabric.

There was black-and-silver starburst brocade as a kimono robe worn by Lena Kebede and as a band collar jacket and matching pants on another model, for example; chartreuse pants and a mustard-yellow blazer, or a chartreuse suit with cropped trousers and double breasted jacket; fluid cream trousers and long silk robe with black piping detail (a softer version of a suit) or the same trousers with a crisp cropped cotton jacket with tile like embroidery on the sleeves. It made the point beautifully without hitting you over the head with it, and earned a standing ovation led by Ms. Swinton.

Japanese designer Junya Watanabe is also someone for whom the masculine-meets-feminine is core. His spring collection started with the familiar strains of the Queen song “Somebody to Love.” Add to that, electric-hued close-cropped wigs, studded jewelry and tattoo-patterned bodysuits, and it was clear that gender-bending rebel hearts like Freddie Mercury (soon to be played on the big screen by Rami Malek in Bohemian Rhapsody), provided some inspiration.

The beauty of Watanabe’s take though was that there was a fluidity to the clothing itself, as in you couldn’t tell what it was exactly, until the model spun around slowly revealing the many sides (read into that what you will).

The clothes were fusions of white tulle tutus and blue jeans; marine-stripe sailor shirts and bow-front lady dresses; pinafores and prom dresses, bringing to mind prevailing gender codes and how they are constructed in large part through clothing, starting at a young age.

At Comme des Garcons, designer Rei Kawakubo (who will open her newest Dover Street Market store in downtown Los Angeles in November), also meditated on gender, specifically the female experience as it relates to age, the physical body and body image.

Kawakubo designs in the abstract, with grand, sculptural gestures, and you have to try to experience her shows on a purely emotional level. The models wore gray wigs, and some of their bellies were padded to pregnant proportions, literally splitting open the waistband of tinsely black jackets trousers. Frock coats draped over lumpy, bumpy protrusions extending from the hips or buttocks brought to mind the disappointment so many women feel every day in their bodies.

Other looks suggested the times women’s bodies fail them, constricting them like beautifully knotted bow details on the fronts of jackets, or weighing them down like the chains hanging from models’ wrists. There were even headlines (on newsprint Spandex) over some models’ curves, a reminder of the political battle waging over women’s bodies that just last week reached the U.S. Senate with testimony by Christine Blasey Ford. These are indeed trying times to be a woman—and a man.

Fresh off of a collaboration with Serena Williams for her matches at the U.S. Open, Virgil Abloh showed a sports-inspired collection for Off-White aptly titled Track and Field. If there were medals to be given in this Fashion game, Abloh's collection would certainly place. With this one, the renaissance man seemed to be in his sweet spot, debuting pieces that maintained the streetwear vibes we've come to know Abloh for but with an elevated twist.

Bella Hadid and Kendall Jenner opened the show with Kaia Gerber trailing behind, all wearing head-to-toe white looks. Gerber's top was made of cut-up Nike socks, a clear indication that his partnership with the mega sportswear brand would continue.

Eight Nike athletes—and by athletes, I mean elite Olympians—walked alongside the models (including Jourdann Dunn and Karlie Kloss) wearing neon green, black, and beige unitards. Everyone’s names flashed on an electronic leaderboard, like any track meet. Looks like these, plus the snakeskin portion of the show, were highlights and a space where Abloh could reign as king. Streetwear, as a trend, is played out and frankly a little tired, but if it evolves in this direction Abloh's athleisure is not going anywhere.

Elle Fanning practices her catwalk strut on the banks of the Seine as she joins the star-studded L'Oreal rehearsal at Paris Fashion Week

And while Ellie Fanning has established her name in the acting world, she is now turning her hand to modelling, as she was spotted rehearsing on the catwalk ahead of her appearance in La Defile L'Oreal in Paris, France, on Sunday.

The Malificent star, 20, oozed androgynous chic in a monochrome ensemble as she strutted down the purpose-built runway in the middle of the River Seine during Paris Fashion Week.

Walk that walk: Ellie Fanning, 20, was spotted rehearsing on the catwalk ahead of her appearance in La Defile L'Oreal in Paris, France, on Sunday

Elle slipped into a crisp white shirt which she fully buttoned up to the nape of her neck, and featured an eye-catching black print on the breast pocket.

She tucked the oversized shirt into a pair of slinky black cropped wide-legged trousers, and practised her walk in skyscraper peep-toe heels.

The actress smiled widely as she sashayed along the catwalk, and was greeted half-way through by Eva Longoria, who was filming the run-through on her mobile phone.

The beautiful blonde,styled her hair into dishevelled waves, and displayed dramatic black eye make-up, which stood out against her flawless, pale skin.

Chic: The Malificent star oozed androgynous chic in a monochrome ensemble as she strutted down the purpose-built runway in the middle of the River Seine during Paris Fashion Week

Stylish: Elle slipped into a crisp white shirt which she fully buttoned up to the nape of her neck, and tucked it into a pair of sleek black cropped trousers.

A day earlier, Elle took to Instagram to post a video of last year's La Defile L'Oreal, which means L'Oreal Parade in English, which shut down the Champs-Élysées.

She captioned it: 'ARE YOU READY? So proud to be walking Le Défilé L’Oréal Paris alongside some of my favorite lorealistas - September 30, Paris, open to all #lorealpfw @lorealmakeup @lorealhair.'

This year the cosmetics brand has moved the venue to a floating runway on the River Seine, meaning the models will literally be walking on water.

L'Oreal boasts it's the first time such a thing has been staged on the river, and it's designed to be visible to as many people as possible crowded on to the river banks and bridges.

Fun times: The actress smiled widely as she sashayed along the catwalk, and was greeted half-way through by Eva Longoria, who was filming the run-through on her mobile phone

'Le Défilé L’Oréal Paris is our opportunity to share, during Paris Fashion Week, an extraordinary experience with everyone,' said Pierre-Emmanuel Angeloglou, L’Oréal Paris Global Brand President in a statement.

'We are delighted to invite thousands of members of the public to a celebration of every element of our brand’s DNA - Paris, beauty, creativity, fashion and diversity - with the River Seine as our majestic backdrop.

'Our goal, as ever, is to lead the way in making fashion and beauty trends for all.'

Steve Martin would approve.

Olivier Rousteing may be at the helm of a circa 1946 French fashion house, but he’s always said he’s part of the click generation, and more than many other designer, he’s pushing the new frontiers of digital communication.

For his Spring 2019 collection shown at Paris Fashion Week, he was inspired by the very old (specifically ancient Egypt, and the Napoleon era relics of it scattered around Paris), and the very new, partnering with VR firm Oculus and Facebook 360 to offer viewers at home the same 360-degree view of the runway.

Using new technology to enhance the catwalk (and shopping) experience is part of Rousteing’s dream of becoming fashion’s most future-thinking brand, and follows his introduction of a custom Beats by Dre headphone collection at the opening of the Melrose store in Los Angeles last year, and a VR Oculus headset experience at the new Milan store soon after. Both projects were designed to help fans (he has 5 million on Instagram) get a window into his creative process.

Although in the past, Rousteing has hosted Jenner-Kardashians and Kanye in his front row, he reserved the star power for the runway this season. At least one user I know who tried to watch Cara Delevingne open the show in a metal breastplate and white suit from afar, wasn’t able to (something to do with the Wifi at her hotel), so I can’t comment on how well the technology performed, but I can report that the clothes weren't totally connecting.

Rousteing took the Egyptian inspiration quite literally, building out the brand’s signature wide shoulders to pyramid-like protrusions, weaving hieroglyphic symbols into a knit jacket and skirt combination, embroidering a sphinx on the front of a bedazzled cocktail dress, even wrapping a couple of models like mummies in strips of white tulle that unfortunately resembled toilet paper.

Tweedy suiting with fraying hems, and high-waist, pleat-front acid washed jeans (if you are too young to have worn them the first time around, they are new to you) offered some respite, but this outing was less haute than Halloween.

The "Barbie Dreams" rapper attended nearly every major runway show, afterparty and red carpet in some truly eye-popping outfits -- like this yellow look she paired with a pink wig and over-the-knee boots for E!, Elle and IMG's New York Fashion Week kickoff party.

PARIS— Trust Derek Blasberg to turn the U.S. ambassador’s residence in Paris into the most exclusive nightclub in town. The editor and man-about-town gathered a who’s who of models and designers to celebrate the launch of YouTube’s fashion and beauty vertical with a party capped by a concert by Haim and a DJ set by Virgil Abloh.

The video-sharing platform hired Blasberg in June as head of fashion and beauty partnerships, a job category that includes Eva Chen at Instagram and Selby Drummond at Snapchat.

“I wish all my welcomes were held in embassies around the world, but I think this is more of a YouTube’s ‘welcome to fashion and beauty’ party,” Blasberg said as he stood beside the door, breaking off to exchange greetings with a stream of arriving and departing models, editors and socialites.

“The real job title is to create more, better fashion and beauty content on YouTube, so maybe we’ll lean into publications and ask them to do more YouTube videos. We’ll ask brands who are already creating such amazing content on other platforms to help with that on YouTube. We can ask fashion professionals, so there’s a lot of makeup artists that are doing very well on YouTube, but not a lot of fashion’s top-tier makeup artists, and hairstylists, and stylists, models,” he said.

“The greatest thing, I think, about YouTube is that it’s a real opportunity and platform for these people who work in fashion to control their own narrative and tell their own stories,” Blasberg added, noting that the platform is the number-two most-used search engine worldwide after Google.

His first coup was scoring a live stream of Rihanna’s Savage x Fenty lingerie show at New York Fashion Week, which has racked up almost 1.2 million views. YouTube also live-streamed the Gucci show in Paris on Monday.

“We are in the final processes — not yet signed — of announcing some channels of top-tier fashion professionals and brands, so it’s happening! It’s a welcome party, but we’ve done some work before tonight,” he teased, before heading off to shoot party footage with Kendall Jenner and Bella Hadid for his Instagram Stories.

For the designers in attendance, YouTube represents a goldmine of research material.

“YouTube has changed fashion in the sense that you have a platform where everything is accessible in one place, so you can look at a Visconti film from 1978, you can look at a documentary on Victorian photography. You can kind of find anything that you might be thinking about,” said Erdem Moralioglu. “I love it for watching old films.”

For Christopher Kane, YouTube is a natural extension of watching television when he was growing up. “I’m not bigging it up because I’m here, but I’ve always loved YouTube. I would look at fashion shows when I was a student and I’d be like, wow, I can see a Versace show from 1996,” he said.

“It’s so in-depth, but also, I still love that very candid approach, and I think we’re losing that a little bit. You look at it, and there’s, like, people falling down stairs, the comedy of that, next to something really serious, like a wartime film. So there’s so much contrast and I think that’s what’s so good — it’s a complete 360 and it’s very inclusive,” Kane added.

Washington, D.C., is not a fashion town. Residents are known for dressing conservatively, if not for wearing clothes that are downright stodgy. But a computer engineer-turned fashion designer believes the nation's capital is one of the best locations for fashion. VOA's June Soh met DC Fashion Week founder Ean Williams to learn what the event is all about. Her report is narrated by Faith Lapidus.

Unsurprisingly, Alves in particular was quick to seize any opportunity to dress up to the nines and strut his stuff, including a pair of black high heels presumably belonging to his wife, Spanish model Joana Sanz.

The Brazilian full-back then made his way to join Neymar at the Off-White Spring-Summer 2019 Ready-to-Wear show in the city while sporting a fetching pair of custom "thug life" sunglasses -- of internet meme fame.

With traffic at a standstill in the French capital, Alves took the Metro to the show, mingling among members of the public while looking like something from a futuristic "Lost Boys" reboot.

In a story Sept. 27 about the Paris Fashion Week, The Associated Press reported erroneously that French couturier Jean Paul Gaultier's new musical review would open at the Folies Pigalle theater. The venue is actually the Folies Bergere.

A corrected version of the story is below:

The ever-inventive Rick Owens nearly cooked his front row at Paris Fashion Week thanks to a giant burning sculpture, while Indian designer Manish Arora brought the colors of a carnival and Carnival to a zany spring collection that stylishly followed no rules.

Here are some highlights from Fashion Week events on Thursday:

RICK OWENS

Was it the flame of hell? A cult's symbol? The Tower of Babel?

Editors sitting in the front row for the Rick Owens runway show were certain of one thing: the gargantuan five-legged pyramid that Owens set ablaze suddenly got really, really hot.

Flames ascended meters into the air as smoke created clouds that rose well above the Palais de Tokyo venue.

When the show began, not much explanation was given for the inferno that kept on burning. But it didn't seem to matter, given the reputation for the unfathomable the talented Californian designer has garnered over the years.

Insectoid figures, fashioned from sculptural pieces of garments such as sleeves tied around the body, filed by with cube-shaped antennae.

The stripes of a blackened American flag fluttered off the back of a model in a long black skirt.

Loose filaments that dangled down from straps on supple mini-dresses created fluidity and added to the nice organic feel that many of the designs possessed.

The only element that seemed to hark to the fire theme were some dystopian goddess looks: models dressed in shredded geometric column dresses walking solemnly down stone steps holding burning torches.

In short, it was a typically creative display from Owens.

___

MANISH ARORA CELEBRATES COLOR AND SOCCER

It was time for Carnival, soccer and celebration at color-loving Manish Arora.

They were showcased on an outdoor runway just as the sun happened to appear — adding another note of joy.

Myriad ideas came together successfully in a mad sort of runway collage.

Limited edition tops created in homage to France's multicultural Paris Saint-Germain soccer team launched the show.

The faces and names of Brazil's Thiago Silva and France's Kylian Mbappe, who has Cameroonian and Algerian roots, became prints on T-shirts or gathered and loose-fitting sweaters.

Then, bright wraps that might have been worn by Mexican artist Frida Kahlo appeared, followed by African-style jackets with swirling motifs.

Giant bows adorned skirts that would have been appropriate for Carnival in Silva's hometown of Rio de Janeiro.

___

GAULTIER: THE MUSICAL

Since ending his ready-to-wear line in 2014, Jean Paul Gaultier has been missed on the Fashion Week calendar.

So some editors jumped when the famed French couturier returned this season in a different guise, clearing their afternoons to attend press previews for his new musical-review "Fashion Freak Show."

All the corsets, sparkle and provocation of the 66-year-old's colorful life have gone into the spectacle that chronicles his journey from a nascent designer in 1976 to achieving world-wide fame via Madonna's iconic conical bra in 1990.

It also touches on the darker moments that shaped Gaultier, including the death of his partner, Francis Menuge, from complications from AIDS.

The show is set to open Oct. 2 at the Folies Bergere theater in Paris.

___

PACO RABANNE

There's a fresh buzz at Paco Rabanne.

There are two-fold reasons: firstly, because the 1960s space age designs the Spanish-born designer was co-credited with popularizing are again ubiquitous on the Paris runways.

And secondly, momentum has been generated by a series of strong shows by the Puig-owned house's current designer Julien Dossena.

In Thursday's ambitious runway show, there was much to like.

The chainmail and disc link dresses that were signatures of the retired Basque couturier were referenced in golden discs on belts and pendants, and in one hot bejeweled chainmail wrap.

Complex designs with contrasting materials had a nice ornamented feel and conjured up references to the Renaissance in patterning and layering, and even to Imperial China.

Perforated lace collars and long baroque cuffs on a crisp white shirt cut a stylish silhouette with a heavy, glistening black slit skirt.

A tight black minidress with chain hanging had contrasting patterns in the skirt.

The only question is: might these looks be a little hard to wear on the street?

With special guests the Haim sisters.

“We’re big fans, can you tell?” joked Este Haim, decked out head-to-toe in Chloe on her way into the boho brand’s fashion show on Thursday morning in Paris, with sisters Alana and Danielle in tow.

The brand’s creative director Natacha Ramsay-Levi dressed the fashion-loving Los Angeles band for their Coachella performances in April, and the haute festival wear vibe seemed to stick with her, carrying over onto the runway for Spring 2019.

By now, festival style is a well-worn fashion influence, but in Ramsay-Levi’s hands it still felt fresh, maybe because it was so elevated. Sure, there was a sunset-ombre Chloe logo T-shirt, complete with raised “sacred hands” symbol, that looked ready made for romping around the Polo grounds, but that was as low-brow as it got (no denim cutoffs here).

Which is to say that Chloe's boho woman is global--festival going from Indio to Ibiza---and picking up treasures along the way. Multiculti touches were woven throughout the collection, from scarf-silk pants, dresses and skirts cinched with rope lariat belts, to a standout tapestry jacquard coat, plus plenty of goddess pleated tunics and gowns, some decorated with ancient-looking stones.

Speaking of stones, there was an array of covetable jewelry on the runway, including beaded, upper-arm cuffs, tribal-looking amulet necklaces, oversized leaf earrings, even wristbands and anklets reminiscent of VIP bands reading "Chloe." Buckled sandals and mules finished things off, along with the new Chloe “C” logo bag already in the hands of the Haim girls, of course.

PARIS — The ever-inventive Rick Owens nearly cooked his front row at Paris Fashion Week thanks to a giant burning sculpture, while Indian designer Manish Arora brought the colors of a carnival and Carnival to a zany spring collection that stylishly followed no rules.

Here are some highlights from Fashion Week events on Thursday:

RICK OWENS

Was it the flame of hell? A cult’s symbol? The Tower of Babel?

Editors sitting in the front row for the Rick Owens runway show were certain of one thing: the gargantuan five-legged pyramid that Owens set ablaze suddenly got really, really hot.

Flames ascended meters into the air as smoke created clouds that rose well above the Palais de Tokyo venue.

When the show began, not much explanation was given for the inferno that kept on burning. But it didn’t seem to matter, given the reputation for the unfathomable the talented Californian designer has garnered over the years.

Insectoid figures, fashioned from sculptural pieces of garments such as sleeves tied around the body, filed by with cube-shaped antennae.

The stripes of a blackened American flag fluttered off the back of a model in a long black skirt.

Loose filaments that dangled down from straps on supple mini-dresses created fluidity and added to the nice organic feel that many of the designs possessed.

The only element that seemed to hark to the fire theme were some dystopian goddess looks: models dressed in shredded geometric column dresses walking solemnly down stone steps holding burning torches.

In short, it was a typically creative display from Owens.

___

MANISH ARORA CELEBRATES COLOR AND SOCCER

It was time for Carnival, soccer and celebration at color-loving Manish Arora.

They were showcased on an outdoor runway just as the sun happened to appear — adding another note of joy.

Myriad ideas came together successfully in a mad sort of runway collage.

Limited edition tops created in homage to France’s multicultural Paris Saint-Germain soccer team launched the show.

The faces and names of Brazil’s Thiago Silva and France’s Kylian Mbappe, who has Cameroonian and Algerian roots, became prints on T-shirts or gathered and loose-fitting sweaters.

Then, bright wraps that might have been worn by Mexican artist Frida Kahlo appeared, followed by African-style jackets with swirling motifs.

Giant bows adorned skirts that would have been appropriate for Carnival in Silva’s hometown of Rio de Janeiro.

___

GAULTIER: THE MUSICAL

Since ending his ready-to-wear line in 2014, Jean Paul Gaultier has been missed on the Fashion Week calendar.

So some editors jumped when the famed French couturier returned this season in a different guise, clearing their afternoons to attend press previews for his new musical-review “Fashion Freak Show.”

All the corsets, sparkle and provocation of the 66-year-old’s colorful life have gone into the spectacle that chronicles his journey from a nascent designer in 1976 to achieving world-wide fame via Madonna’s iconic conical bra in 1990.

It also touches on the darker moments that shaped Gaultier, including the death of his partner, Francis Menuge, from complications from AIDS.

The show is set to open Oct. 2 at the Folies Pigalle theater in Paris.

___

PACO RABANNE

There’s a fresh buzz at Paco Rabanne.

There are two-fold reasons: firstly, because the 1960s space age designs the Spanish-born designer was co-credited with popularizing are again ubiquitous on the Paris runways.

And secondly, momentum has been generated by a series of strong shows by the Puig-owned house’s current designer Julien Dossena.

In Thursday’s ambitious runway show, there was much to like.

The chainmail and disc link dresses that were signatures of the retired Basque couturier were referenced in golden discs on belts and pendants, and in one hot bejeweled chainmail wrap.

Complex designs with contrasting materials had a nice ornamented feel and conjured up references to the Renaissance in patterning and layering, and even to Imperial China.

Perforated lace collars and long baroque cuffs on a crisp white shirt cut a stylish silhouette with a heavy, glistening black slit skirt.

A tight black minidress with chain hanging had contrasting patterns in the skirt.

The only question is: might these looks be a little hard to wear on the street?

___

Thomas Adamson can be followed at Twitter.com/ThomasAdamson_K

Copyright 2018 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

PARIS (AP) — The ever-inventive Rick Owens nearly cooked his front row at Paris Fashion Week thanks to a giant burning sculpture, while Indian designer Manish Arora brought the colors of a carnival and Carnival to a zany spring collection that stylishly followed no rules.

Here are some highlights from Fashion Week events on Thursday:

RICK OWENS

Was it the flame of hell? A cult's symbol? The Tower of Babel?

Editors sitting in the front row for the Rick Owens runway show were certain of one thing: the gargantuan five-legged pyramid that Owens set ablaze suddenly got really, really hot.

Flames ascended meters into the air as smoke created clouds that rose well above the Palais de Tokyo venue.

When the show began, not much explanation was given for the inferno that kept on burning. But it didn't seem to matter, given the reputation for the unfathomable the talented Californian designer has garnered over the years.

Insectoid figures, fashioned from sculptural pieces of garments such as sleeves tied around the body, filed by with cube-shaped antennae.

The stripes of a blackened American flag fluttered off the back of a model in a long black skirt.

Loose filaments that dangled down from straps on supple mini-dresses created fluidity and added to the nice organic feel that many of the designs possessed.

The only element that seemed to hark to the fire theme were some dystopian goddess looks: models dressed in shredded geometric column dresses walking solemnly down stone steps holding burning torches.

In short, it was a typically creative display from Owens.

___

MANISH ARORA CELEBRATES COLOR AND SOCCER

It was time for Carnival, soccer and celebration at color-loving Manish Arora.

They were showcased on an outdoor runway just as the sun happened to appear — adding another note of joy.

Myriad ideas came together successfully in a mad sort of runway collage.

Limited edition tops created in homage to France's multicultural Paris Saint-Germain soccer team launched the show.

The faces and names of Brazil's Thiago Silva and France's Kylian Mbappe, who has Cameroonian and Algerian roots, became prints on T-shirts or gathered and loose-fitting sweaters.

Then, bright wraps that might have been worn by Mexican artist Frida Kahlo appeared, followed by African-style jackets with swirling motifs.

Giant bows adorned skirts that would have been appropriate for Carnival in Silva's hometown of Rio de Janeiro.

___

GAULTIER: THE MUSICAL

Since ending his ready-to-wear line in 2014, Jean Paul Gaultier has been missed on the Fashion Week calendar.

So some editors jumped when the famed French couturier returned this season in a different guise, clearing their afternoons to attend press previews for his new musical-review "Fashion Freak Show."

All the corsets, sparkle and provocation of the 66-year-old's colorful life have gone into the spectacle that chronicles his journey from a nascent designer in 1976 to achieving world-wide fame via Madonna's iconic conical bra in 1990.

It also touches on the darker moments that shaped Gaultier, including the death of his partner, Francis Menuge, from complications from AIDS.

The show is set to open Oct. 2 at the Folies Pigalle theater in Paris.

PARIS — The ever-inventive Rick Owens nearly cooked his front row at Paris Fashion Week thanks to a giant burning sculpture, while Indian designer Manish Arora brought the colors of a carnival and Carnival to a zany spring collection that stylishly followed no rules.

Here are some highlights from Fashion Week events on Thursday:

RICK OWENS

Was it the flame of hell? A cult's symbol? The Tower of Babel?

Editors sitting in the front row for the Rick Owens runway show were certain of one thing: the gargantuan five-legged pyramid that Owens set ablaze suddenly got really, really hot.

Flames ascended meters into the air as smoke created clouds that rose well above the Palais de Tokyo venue.

When the show began, not much explanation was given for the inferno that kept on burning. But it didn't seem to matter, given the reputation for the unfathomable the talented Californian designer has garnered over the years.

Insectoid figures, fashioned from sculptural pieces of garments such as sleeves tied around the body, filed by with cube-shaped antennae.

The stripes of a blackened American flag fluttered off the back of a model in a long black skirt.

Loose filaments that dangled down from straps on supple mini-dresses created fluidity and added to the nice organic feel that many of the designs possessed.

The only element that seemed to hark to the fire theme were some dystopian goddess looks: models dressed in shredded geometric column dresses walking solemnly down stone steps holding burning torches.

In short, it was a typically creative display from Owens.

___

MANISH ARORA CELEBRATES COLOR AND SOCCER

It was time for Carnival, soccer and celebration at color-loving Manish Arora.

They were showcased on an outdoor runway just as the sun happened to appear — adding another note of joy.

Myriad ideas came together successfully in a mad sort of runway collage.

Limited edition tops created in homage to France's multicultural Paris Saint-Germain soccer team launched the show.

The faces and names of Brazil's Thiago Silva and France's Kylian Mbappe, who has Cameroonian and Algerian roots, became prints on T-shirts or gathered and loose-fitting sweaters.

Then, bright wraps that might have been worn by Mexican artist Frida Kahlo appeared, followed by African-style jackets with swirling motifs.

Giant bows adorned skirts that would have been appropriate for Carnival in Silva's hometown of Rio de Janeiro.

___

GAULTIER: THE MUSICAL

Since ending his ready-to-wear line in 2014, Jean Paul Gaultier has been missed on the Fashion Week calendar.

So some editors jumped when the famed French couturier returned this season in a different guise, clearing their afternoons to attend press previews for his new musical-review "Fashion Freak Show."

All the corsets, sparkle and provocation of the 66-year-old's colorful life have gone into the spectacle that chronicles his journey from a nascent designer in 1976 to achieving world-wide fame via Madonna's iconic conical bra in 1990.

It also touches on the darker moments that shaped Gaultier, including the death of his partner, Francis Menuge, from complications from AIDS.

The show is set to open Oct. 2 at the Folies Pigalle theater in Paris.

___

PACO RABANNE

There's a fresh buzz at Paco Rabanne.

There are two-fold reasons: firstly, because the 1960s space age designs the Spanish-born designer was co-credited with popularizing are again ubiquitous on the Paris runways.

And secondly, momentum has been generated by a series of strong shows by the Puig-owned house's current designer Julien Dossena.

In Thursday's ambitious runway show, there was much to like.

The chainmail and disc link dresses that were signatures of the retired Basque couturier were referenced in golden discs on belts and pendants, and in one hot bejeweled chainmail wrap.

Complex designs with contrasting materials had a nice ornamented feel and conjured up references to the Renaissance in patterning and layering, and even to Imperial China.

Perforated lace collars and long baroque cuffs on a crisp white shirt cut a stylish silhouette with a heavy, glistening black slit skirt.

A tight black minidress with chain hanging had contrasting patterns in the skirt.

The only question is: might these looks be a little hard to wear on the street?

The ever-inventive Rick Owens nearly cooked his front row at Paris Fashion Week thanks to a giant burning sculpture, while Indian designer Manish Arora brought the colors of a carnival and Carnival to a zany spring collection that stylishly followed no rules.

Here are some highlights from Fashion Week events on Thursday:

RICK OWENS

Was it the flame of hell? A cult's symbol? The Tower of Babel?

Editors sitting in the front row for the Rick Owens runway show were certain of one thing: the gargantuan five-legged pyramid that Owens set ablaze suddenly got really, really hot.

Flames ascended meters into the air as smoke created clouds that rose well above the Palais de Tokyo venue.

When the show began, not much explanation was given for the inferno that kept on burning. But it didn't seem to matter, given the reputation for the unfathomable the talented Californian designer has garnered over the years.

Insectoid figures, fashioned from sculptural pieces of garments such as sleeves tied around the body, filed by with cube-shaped antennae.

The stripes of a blackened American flag fluttered off the back of a model in a long black skirt.

Loose filaments that dangled down from straps on supple mini-dresses created fluidity and added to the nice organic feel that many of the designs possessed.

The only element that seemed to hark to the fire theme were some dystopian goddess looks: models dressed in shredded geometric column dresses walking solemnly down stone steps holding burning torches.

In short, it was a typically creative display from Owens.

___

MANISH ARORA CELEBRATES COLOR AND SOCCER

It was time for Carnival, soccer and celebration at color-loving Manish Arora.

They were showcased on an outdoor runway just as the sun happened to appear — adding another note of joy.

Myriad ideas came together successfully in a mad sort of runway collage.

Limited edition tops created in homage to France's multicultural Paris Saint-Germain soccer team launched the show.

The faces and names of Brazil's Thiago Silva and France's Kylian Mbappe, who has Cameroonian and Algerian roots, became prints on T-shirts or gathered and loose-fitting sweaters.

Then, bright wraps that might have been worn by Mexican artist Frida Kahlo appeared, followed by African-style jackets with swirling motifs.

Giant bows adorned skirts that would have been appropriate for Carnival in Silva's hometown of Rio de Janeiro.

___

GAULTIER: THE MUSICAL

Since ending his ready-to-wear line in 2014, Jean Paul Gaultier has been missed on the Fashion Week calendar.

So some editors jumped when the famed French couturier returned this season in a different guise, clearing their afternoons to attend press previews for his new musical-review "Fashion Freak Show."

All the corsets, sparkle and provocation of the 66-year-old's colorful life have gone into the spectacle that chronicles his journey from a nascent designer in 1976 to achieving world-wide fame via Madonna's iconic conical bra in 1990.

It also touches on the darker moments that shaped Gaultier, including the death of his partner, Francis Menuge, from complications from AIDS.

The show is set to open Oct. 2 at the Folies Pigalle theater in Paris.

The house of Mugler has a new man—and, it would seem, a new superstar fan.

How do you get a superstar like Cardi B to attend your first-ever fashion show? Apparently, you start trading emails with her team, and just ask.

That’s exactly what happened on Wednesday morning, when the pop singer turned up at the intimate fashion show for Casey Cadwallader’s debut at the house of Mugler.

Never heard of Casey? Well, you’re about to. The American designer took the reins at Mugler in December, after stints at Marc Jacobs, Narciso Rodriguez and Acne Studios. He takes over a house that had its heyday in the 1980s, when designer Thierry Mugler gained fame for fetishistic designs and severe, sculptural silhouettes, featuring such odd embellishments as car fins, and nuts and bolts.

Cadwallader’s 2018 take was respectful, but less severe--more about freeing the body than trying to mold it into some unreasonable ideal. To that end, the foundation for the collection was the kind of stretchy Spandex bike shorts made famous by Kendall, Kylie and Kim Kardashian, and worn on Wednesday by Cardi in the front row.

He added subtle corsetry, hook-and-eye, and lacing details, tapping into the house’s inherent sexiness, but in the context not of Mugler's severe minidresses, but instead free-floating parachute tops, ballooning nylon dresses, crepe trousers, dresses and relaxed tailored jackets, all of which looked like they would allow a girl to indulge in some lunch.

One of the star pieces, an uber cool PVC trench coat filled with fabric remnants, plastic bags, chain clippings, jewelry, cigarette butts, screws and broken glass bits, paid homage to Mugler’s love of odd materials. Meanwhile, marbleized Latex fabric had a futuristic vibe, fashioned into wet-look skirts and dresses that enhanced every female curve, as did the spiraling seams of rad-looking denim trousers that you don’t need to be a star to pull off.

Still, here’s hoping Cardi might give the new American designer in Paris some love when she makes her first televised awards show performance since the birth of her child, taking the stage at the American Music Awards on Oct. 9.

Paris is always a good idea. While getting yourself there requires a bit of planning, virtually attending Paris Fashion Week is no problem. Watch one of the week's most anticipated shows—Chloé from Creative Director Natacha Ramsay-Levi—at 10 a.m. Parisian time (4 a.m. NYC) via the link below.

Cardi B is having a good fashion month. The 25-year-old rapper is currently show-hopping in Paris, attending the Mugler show on Wednesday in an all-black look from the fashion house. On Tuesday night, she was busy performing during the show for lingerie brand Etam, wearing a feathered lavender suit by Christian Cowan. This comes a few weeks after after she sat front row at shows like Jeremy Scott and Tom Ford, and became the talk of the week when she threw a shoe at Nicki Minaj during the Harper’s Bazaar Icons Party (while still looking glamorous in a red Dolce & Gabbana gown).

This isn’t Cardi’s first time hanging around the fashion set, but it is the first season where she is the undoubtable star. Last fall, after her song “Bodak Yellow” became a ubiquitous presence on radio and beyond, Cardi was a fixture at some New York Fashion Week shows, including Rihanna’s Fenty x Puma, Christian Siriano, and The Blonds. Since then, she’s given birth to her first child, become a married woman, snagged two Grammy nominations, and had her own Tom Ford lipstick named after her. In a time when Fashion Week is routinely declared to be “dead” and unable to land celebrity attendees, Cardi is thriving and reaping all the attention that in past decades might have been spread among other top-tier attendees.

After New York Fashion Week wrapped, Cardi flew to Milan to sit front row at Dolce & Gabbana, wearing a coat and boots from the house along with a pair of fuzzy leopard print “D.G.” glasses. Then she was off to Paris, where she’s currently busy serving over-the-top looks including a multicolored gown by Michael Costello with a matching flat-brimmed hat.

After her spat with Minaj during the Harper’s Bazaar party, some on social media were quick to criticize the newest fashion darling, declaring her “over” right as she was getting started. In a video posted to Instagram on Tuesday, she addressed the issue in true Cardi fashion.

“Why can’t y’all just stop making rumors that trying to make me look like I’m just over and everything?” she said. “When my time is over, y’all will see when my time is over. My numbers will be going down, I’m not going to be on the charts, people will stop fucking with me. You’ll see. God’s saying it’s not my time yet so just relax, enjoy the show, and worry about your life.”

Based on her current Fashion Week schedule, we’re inclined to think she’s right.

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Full ScreenPhotos:Week in Fashion: Cardi B Is a Glamorous New York Fashion Standout

Cardi BFashion World Wants Me MoreAfter Nicki Shoe Attack

9/25/2018 1:00 AM PDT

EXCLUSIVE

Cardi B's gonna throw shoes on the reg if her still-fresh Nicki Minaj beef keeps paying off for her at Fashion Week ... okurrr?

Sources close to Cardi tell TMZ the "I Like It" rapper has been on schedule and unfazed for Fashion Week in Milan these past few days ... and, in fact, it seems squaring off with Nicki has only raised her profile. We're told none of her appearances have been canceled, and no designers have pulled invitations that were sent pre-fight.

Cardi attended the Dolce & Gabbana show Sunday as planned, an event she'd been booked for well before her altercation earlier this month with Nicki.

While some might have expected prim and proper fashionistas to keep Cardi at arm's length after her NYFW rumble -- designers seem to be embracing her instead. She was all smiles while sitting front row at the Dolce & Gabbana show.

Hell, even Cardi's sister, Hennessy, walked the runway for the Philipp Plein show in Milan -- a clear sign they were happy to have the MC show up and probably wanted her to, although she did not.

We're told Cardi wasn't concerned about Nicki's schedule in Milan, or the possibility of running into her at any events. Nicki arrived in Milan 3 days before CB, but they were both there over the weekend. No fireworks.

Cardi's now off to Paris for Fashion Week there, and sources say she's going to 3 major shows.

No word if Nicki's going, but seems the design houses wouldn't mind if she did. Think WWE ... but in stilettos.

PARIS — Dance and theatricality were at the heart of Paris Fashion Week’s first day of spring shows, as American stars Blake Lively and Shailene Woodley gushed over Dior’s balletic presentation at the famed Longchamps racecourse. While, Gucci held its evening spectacle at France’s answer to Studio 54, the iconic Le Palace — once the club that showcased fashion’s most dramatic looks.

Here are some highlights from Monday:

DIOR’S ODE TO DANCE

To clouds of falling white petals, dancers clad in patterned bodysuits twisted gracefully to the clicking sound of a metronome.

This season, Dior turned to dance to produce the music and visuals for its spring-summer collection, infused with diaphanous, tulle-rich gowns.

The house enlisted the talents of choreographer Sharon Eyal for a sublime and balletic contemporary dance performance that ran throughout the spring-summer show.

It had the star of “Divergent” and “Big Little Lies,” Shailene Woodley, floored.

“You marry dance with fashion and movement and you have a visceral, overwhelming experience,” Woodley told The Associated Press.

The runway hall was spacious enough to house the dozen roving dancers thanks to a marquee constructed in the grounds of the historic Longchamps racecourse, which dates to the 19th century and has been the site of some of former Dior designer John Galliano’s most memorable couture shows.

___

BALLETIC LOOKS

As ethereal as a layer of tulle, with the corset replaced by a simple tank top.

That’s how the House of Dior described the key idea behind designer Maria Grazia Chiuri’s soft and supple 87-piece show in monochrome and nude.

Few risks were taken in this display.

But this didn’t matter since the fashion, inspired by a dancer’s wardrobe, was primarily aimed at being simple and feminine.

Jumpsuits, straps and cords featured on silhouettes that were either tight on the torso, evoking a leotard, or diaphanous and floaty, channeling a tutu.

Ballet slippers evoked the dance tradition very literally, while open toe heels featured crisscross strapping in a take on a ballerina’s shoe.

There was a softness to the entire show, accentuated by the gentle round shoulders that were set off romantically by dappled and misty lighting.

___

GUCCI AT LE PALACE

Following on from Gucci’s May resort show in The Alyscamps, a famed Roman necropolis near Arles, the Milan-based powerhouse continued its year-long love affair with France by hosting its spring show in Paris, exceptionally.

The one-off venue was carefully chosen: Le Palace, the iconic club-turned-theater that was inaugurated in 1978 by Grace Jones who sang La Vie en Rose atop a pink Harley Davidson.

The opportunity to show in this legendary space wasn’t squandered by superlatively flamboyant designer Alessandro Michele.

Actress Salma Hayek stared through opera binoculars at the stage from her balcony seat, as a surreal arthouse film was projected on the stage.

Mid-way through the collection, French-English singer Jane Birkin rose suddenly from one of the seats and began singing, then sat back down.

The colorful and wacky men’s and women’s looks well captured the exuberance of the place dubbed France’s Studio 54. It was once the stomping ground for figures such as Mick Jagger, Andy Warhol and Yves Saint Laurent.

The time dial was set to styles from between 1978 and 1985 — the heyday of the club.

Shades, large hats, oversize beads, sequins and glitter were ubiquitous.

Demonstrating that the collection didn’t take itself too seriously, at one point a model in a gray tuxedo and sneakers strutted out with a real parrot sitting on her shoulder.

Then, a male model with long ‘70s hair in a preppy striped knit sweater walked out with nothing but pink briefs on his bottom half.

This was perhaps the only instance in this indulgent collection, when less was more.

It was a sight to match even Grace Jones.

___

LVMH TO REVIVE JEAN PATOU

France’s luxury giant LVMH has told the AP it will revive the iconic fashion house of Jean Patou.

One of France’s most famous couturiers in between the two World Wars, Patou was credited with popularizing the cardigan, inventing the tennis skirt and killing the flapper style. His house was most closely associated with the perfume “Joy,” a rival to Chanel’s No. 5 as one of the world’s most popular fragrances.

For the relaunch, designer Guillaume Henry, who once revived Carven and worked recently at Nina Ricci, has been appointed as artistic director.

It’s the latest in a series of iconic French house relaunches in recent years, including Schiaparelli, Courreges and Poiret.

"People called last year's Green Carpet awards the Oscars of sustainable fashion," Eco-Age founder Livia Firth said. "I hope that soon we will just be the Oscars of fashion."

Winners included model Elle Macpherson, who took home The Wellness Award, new this year to acknowledge the importance that human wellness plays in environmental sustainability, Eco-Age reported.

"Fashion can be very beautiful and lucrative, but to be here for a real purpose for me is important," Machpherson told Reuters.

Other winners included Donatella Versace, who took home The CNMI in Recognition for Sustainability Award for Versace's commitment to going fur free, as well as its designing of green retail spaces and attempts to create a people-centered company culture, Cameron Russell, who won The Changemaker Award for fighting back against harassment in modelling and Sinéad Burke, who won The Leader Award for "changing the fashion conversation for good," Eco-Age said.

Burke, who has dwarfism, campaigns to make fashion more inclusive.

"The influence of fashion shapes culture," she asked the audience, according to The Guardian. "What will you do with your privilege to make this space more accessible?"

The awards also honored sustainable production techniques. The Australian Woolmark farmers won The Eco Stewardship Award for their sustainable wool production. Frumat Leather won the Technology and Innovation Award for a leather made from apple waste that is "of such quality and appeal that it can displace animal leather," Eco-Age said.

The awards, however, came days after a New York Times story cast doubt on the ethical practices of Italian fashion, The Guardian reported.

The investigation, published Sept. 20, reported how home workers in the region of Puglia, Italy were doing sewing for luxury garments without contracts or insurance, sometimes earning as little as a euro per hour.

CNMI President Carlo Capasa said he was "saddened and concerned" by the report, according to The Guardian, but that the problem was larger than Italy.

"Rather than 'this is Italy'," he said, "I would say 'this is the world'."

However, there was a recognition among participants and award winners that they were part of a powerful industry working to right its past wrongs.

Renzo Rosso, along with Diego Della Valle, won the CNMI in recognition for Community and Social Justice Award for reinvesting in communities, including those devastated by earthquakes, according to Eco-Age.

"People like all of us destroyed the world. But now, we are trying to make it better for our children," he said, according to The Guardian.

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If London is the fashion capital known for its hot young things, and Paris is the city of couture and history-laden heavyweights, then Milan sits somewhere in the middle. Once synonymous only with the glamour of the big names -- Armani, Gucci, Prada, Dolce & Gabbana -- in recent seasons the city has become a hotbed for new labels pushing to the fore. The likes of MSGM, Marco de Vincenzo, No. 21 and GCDS are now all commanding the same attention and column inches once reserved for the power players. Presenting new perspectives on Italian fashion, these brands have saved the city from going stale.

But the fashion industry on the whole -- regardless of country -- is in a state of flux, facing tough questions on equality, diversity and relevance in 2018. With this in mind, it wasn't just the clothes that had people talking. Here are five of Milan's key takeaways.

Embracing diversity ... finally

GCDS Spring-Summer 2019 Credit:Andreas Rentz/Getty Images

It's no secret that fashion week needs to up its game when it comes to racial diversity, and, historically, Milan has lagged on this front. Last season, only 27% non-white models were cast.

But this season, there seemed to be a notable increase. Model Winnie Harlow opened both Byblos and Philipp Plein, while Fendi was opened by Adwoa Aboah and closed by Adut Akech. Philipp Plein, often one of the most divisive shows of the season, was one of the front-runners when it came to racial diversity: about half of his cast were models of color, including hijab-wearing model Halima Aden.

Age came into play too. Designer Erika Cavallini cast a group of older women to walk, a refreshing change that won't go unnoticed by her customers.

Feminism on the brain

During Milan Fashion Week, the New York Times released a damning exposé detailing the exploitation of female workers at the bottom of the manufacturing chain in southern Italy by luxury Italian brands, including Max Mara and Fendi. While the National Chamber of Italian Fashion sent out a press release trying to reframe its findings, the report kept the politics of fashion at the forefront of everyone's minds.

On the runway, gender politics were most astutely dissected by Miuccia Prada. The Prada collection was borne of the tightrope we walk between conservatism and liberalism, provocation and virtue. The prim elements -- knitted jumpers over white shirts, long skirts -- featured revealing cut-out details on the bust and back and were juxtaposed with transparent knee-high stockings and awkward sock-cum-sandals in jarring bright colors for off-kilter sex appeal.

Versace, too, was a celebration of womanhood, with Donatella Versace dedicating the show to powerful, fearless women everywhere. The collection of unashamed, modern glamour was made to accentuate and sculpt the female form fit the current moment perfectly. And the cherry on top? Nineties supermodel Shalom Harlow closing the show after a six-year runway hiatus, showing the Insta-generation just how it's done.

Doing it for the 'gram

In Milan, a city that lives for glitz and glamour, "less is more" does not apply. And when it came to this season's shows excess was definitely on trend, with social media playing perhaps the biggest part in some designers' decisions. Emporio Armani went for gold by taking over part of the city's Linate Airport, ushering some 2,500 guests through security and departure gates into a hangar -- which is already normally emblazoned with the brand's name and logo -- for pre-show cocktails and mini hot dogs. The show itself, held in a purpose-built stadium within the hangar, was the Instagram success the brand was no doubt vying for -- perhaps the most valuable currency of a fashion show now.

Elsewhere, Moschino's sense of humor provided plenty of Instagram fodder, with Jeremy Scott choosing to show an "unfinished" collection which had been scribbled over with colored markers. A shrug seemingly fashioned from an oversized tape measure and Gigi Hadid in a wedding dress surrounded by floating butterflies were particular hits.

And finally, it wouldn't be Milan Fashion Week without a spectacle from Philipp Plein, the self-proclaimed "king of bling." The designer may have taken stick in the past for his over-the-top collections, but it's undeniable that he understands the power of social media as a tool to elevate his brand's star power.

Moschino Spring-Summer 2019 Credit:Marco Bertorello/AFP/Getty Images

The collection, inspired by Michael Jackson, was wholly predictable, yet the addition of Chris Brown, Rita Ora, rapper 6ix9ine and a troop of burlesque performers made Plein's show a viral sensation.

"Social media changed the whole game for fashion," Plein said in an email after the show. "More and more brands choose a similar formula to mine ... Now everyone invites celebrities and performers, but when I started I was the only one doing that in Milan."

America the beautiful

The United Sates may be gripped by political turmoil, but designers are stilling finding inspiration in the country's sunnier days. Fledgling brand Brognano took its cues from the surfer community of the Californian coast for their first show, an influence shared by Etro, who went one step further and cast professional surfers as models.

MSGM Spring-Summer 2019 Credit:Andreas Solaro/AFP/Getty Images

Elsewhere Byblos looked to the Nevada desert and Burning Man, citing its vibrancy and radical nature as key influences for Spring-Summer 2019. MSGM found peace and love in tie-dye, while rising star Marco de Vincenzo called on the childhood memory of an aunt visiting his home in Sicily from the US, bringing little pieces of American culture with each visit. The collection was a hybrid, a tale of two contrasting countries, the urban and the rural, or as the designer stated, "the drama and vitality of Sicily and the innocence and optimism of America."

Sportswear grows up

For several years now, sportswear has been making itself heard on runways around the world, from the ugly trainer craze still sweeping the fashion industry to canny collaborations -- most recently between Fila and Fendi, who teamed teaming up for next-level amounts of logomania (seen front row on Nicki Minaj at this week's Fendi show.)

But Spring-Summer 2019 is throwing us up a new one: cycling shorts. A trend that has been bubbling on Instagram for a while now -- see Kylie Jenner's skin-tight ensembles -- Lycra has gone luxe. And in Milan they were everywhere: We saw navy ones on Bella Hadid at Fendi, fluorescent ones at Blumarine, printed ones at Prada, and baggy ones at Sportmax. Something for everyone, it seems.